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About sinnlicht

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  • Interested in Sound for Picture
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    Independent Filmmaker

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  1. Hi all, To counter a lot of confusion circulated on the web, here is the definitive answer regarding the fact that R4 Pro's gain control and limiters are all PRE ADC: I can't confirm the noise circulating about the Roland designs based on a functional block diagram which only intends to show the last gain stage and limiters are in the A/D chip. It does not show signal flow thru the A/D chip. If that noise was based on engineering then you would not be able to achieve 24 bit resolution and you would have have a useless limiter ! This is what I say in my Recording FAQ. Please note, in an effort to reverse the flood of bad info circulating in some recording forums, I suggest reading the technical specifications for the AK4620B series of ADCs used in the R4Pro and the R44 which is available for download from the manufacturer's website or the link below. "- Input PGA: 0dB to +18dB, 0.5dB/step (for single-ended input)" This is a digitally controlled analog Programmable Gain Amplifier that is controlled by the inner gain knob. Furthermore, the block diagram, supplied by the A/D converter's manufacturer, clearly shows the PGA or analog gain circuit ahead of the analog to digital conversion process in the signal chain. This is essential or 24 bit resolution could not be achieved. Furthermore a digital limiter post A/D conversion is useless.I strongly suggest you not set the inner knob to 12:00 and add gain in post, this compromises the quality of your recordings. It's equally obvious there is no digital gain stage in the AK4620B series of A/D converters but there is digital attenuation and a digital output mute function. AK4620B technical data sheet : Note on page 23 :"The IPGA is an analog volume control that improves the S/N ratio compared with digital volume controls."
  2. Excellent suggestions. Thanks again. I have the Rycote Lyres, and now know about the other options if this does not work well. RL
  3. I have to agree with the others re sdi cables, which do have to match spec for longer runs, particularly for something the length of a cable roll.
  4. Hi all, Rycote USA does not have any more 19mm clips for the Rycote Modular suspension for use with the MKH 815/816. Their replacement is the Rycote Lyre Upgrade Kit 042223. Using only two lyre mounts seems to not really be stable enough for the MKH 815/816. Does anyone have experience with whether using 3-4 lyre suspensions will noticeably increase the amount of vibration transmitted to the mic? Thanks, Richard
  5. This is a very cheap but effective solution for our documentary rig. The Smartview is in a 3RU wall bracket screwed to a Savage Universal 15.75" x 18.5" Air Flow Tech Table on top of some generic carbon fibre tripod legs; power provided by a custom cable from the Remote Audio BDS.
  6. Hi Ira, yes, I have been working with Evan as well. The CS 104 had the 4 channel mod, and now has VU meters and the M/S output circuit mod (I use M/S a lot). I also had a custom cable made by Evan to feed the rca line level outputs of my SD usbpre2 into the aux mixer input of the CS 104, adding an additional 2 channels of mixing when needed. (PM me if you need more info on that, as there there are some caveats and additional equipment you need to make this work. I also output the xlr line levels of the SD to a ZFR 100 + STA 150 for two additional channels of TC recording).
  7. Gentlemen, I think you have it. This was a big help. Thanks!
  8. On the left our mystery guest. On the right an AT899 unscrewed to underscore the difference. But you guys may be pointing to the fact that the design of the AT899 changed over time? Thanks RL
  9. Hi All, I just bought a ZFR 100 with this lavalier, which was billed as an AT899. It is not (I have several AT899's). Can anyone identify what mic it is? Thanks Richard
  10. Just a service note for those still working with an R4 pro. KingSpec PATA IDE 44 Pin 2.5" SSD drives are fully compatible both physically and electronically. They offer various capacities. I installed the 128 GB and R4 pro booted without difficulty. Those contemplating working with the r4 PRO and the Remote Audio's BDS need to be aware that the r4 PRO does not have positive/negative ground protection on the 4 pin external power socket. This means that if you attach the wrong device, i.e. a radio mic with the wrong ground polarity, you will fry the power input on the r4 pro. Roland does not do ANY component level repairs for this unit. So this mistake will cost $250 for a new main board.
  11. Hi, there is a quite a bit of info here:
  12. Yes, all good tips. I have the 416 and AT 4051 and 4053, and MKH30 was not cheap. Down the road I can think about the a MKHX0 or MKH80X. Working primarily in guerilla documentary, we are forced to do the best on a virtually non-existent budget. So before I commit some error, I am testing the waters with what we have. In a related matter, two accessories that I have been advised about are the Ambient QFL floater and the Twister QUM. Is there consensus that they are essential, is there more that is objectively needed, i.e. Rycote Connbox?, etc? Suggestions re Cinela are not really possible right now. Thanks RL
  13. Hi All, Any experiences with the Ambient QFL in terms of membranes? I have a line on a used one, but no third membrane (or other accessories) is included with it. Using this with a stacked m/s mkh 30 / 416 setup in rycote AE with a Connbox CB3. Thanks Richard
  14. And that is why I was also interested in the 405x series with its three different capsules. I have the 4051 and the 4053. Some write about using an omni for the M, which would be the 4049. Thus between the 416 and these three capsules, there is, in theory, a lot bases covered. But experience can often prove otherwise ...
  15. Hi, Have an MKH 30 here and wanting to pair with my 416 or AT 4053b for M/S. Any caveats or relevant experiences? I understand the ease of pairing with other MKH mics, but thats not financially in the cards right now. Thanks Richard